Kendra Shank, Mosaic (Challenge). With her previous CD of Abbey Lincoln songs, Shank firmly differentiated herself from the overcrowded current field of women who declare themselves jazz singers. Mosaic takes her a step further. It elevates Shank into the company of the few singers capable of using jazz skills and values to invest a collection of individual songs with story-telling continuity. That happens in classical recitals of art songs. It is rare in jazz and popular music.

Branford Marsalis, Metamorphosen (Marsalis Music). In the decade the saxophonist’s quartet has been making music together, this is its most satisfying album. There’s the usual dynamism, even aggressiveness, but little of the anger that Marsalis, Joey Calderazzo, Eric Reavis and Jeff “Tain” Watts have sometimes worn on their sleeves. All of the impressive tunes are by band members, except Monk’s “Rhythm-a-ning.” Even at its most abstract, the playing has buoyancy and lyricism.

Steven Bernstein, We Are MTO (Mowo!) Trumpeter Bernstein’s vision for his Millennial Territory Orchestra runs forward and back, with stops in the 1920s, the future and points between. Inspiration comes from, among others, Fats Waller, McKinney’s Cotton Pickers, Lennon & McCartney, Preston Jackson (1926) and Ray Charles, with Sun Ra hovering in the background. The melding of tribute and affectionate spoofing includes an irresistible version of the Count Basie staple “Dickie’s Dream.”

Raymond De Felitta, ‘Tis Autumn: The Search For Jackie Paris (Outsider Pictures). Jackie Paris may be all the evidence we need that talent is not enough. The remarkable singer had a burst of popularity and was adored by the jazz community when bebop was dominant. Then, except for brief reappearances and a few records, he all but sank out of sight. When Paris was old, Raymond De Felitta found him and made a film that tells Paris’s story with the passion of a fan and the cool eye of a documentarian.

Jeff “Tain” Watts, Watts (Dark Keys). The vigorous drummer is in charge of a quartet with saxophonist Branford Marsalis, trumpeter Terence Blanchard and bassist Christian McBride. There’s a lovely ballad (“Owed”), shuckin’ and jivin’ (“Dancin’ 4 Chicken,” take 25), a variation on Monk’s “Trinkle, Tinkle” called “Dingle-Dangle” and an audio theater sketch about dealing with the devil. Along with the fun and games, you get exceptional playing by all hands.

Zoot Sims in Copenhagen (Storyville). This catches the great tenor saxophonist in a 1978 club performance with the stellar rhythm section of pianist Kenny Drew, bassist Niels-Henning Ørsted Pederson and drummer Ed Thigpen. No Sims version of “I’ll Remember April,” a staple in his repertoire, has more heat than the one here. I recommend devoting one hearing to concentrating on N-HOP’s bass lines. Storyville reissues this every few years, a good idea; it should be always available.

Jim Hall & Bill Frisell, Hemispheres (ArtistShare). Hall inspired Frisell. The younger guitarist famously became what Hall would have encouraged him to be, his own man. On Dialogues in 1995, they showed flashes of what they could develop together. On this 2-CD set, they follow through, in duo and with bassist Scott Colley and drummer Joey Baron. Everything works, from Frisell’s outré “Throughout” at the beginning to Sonny Rollins’ blues “Sonnymoon for Two” at the end.

Nels Cline, Coward (Cryptogramophone). Hall and Frisell have impressed Cline. Jimmy Hendrix and John Abercrombie also seem to be in his DNA. Here, Cline is alone with his influences, his guitars, an arsenal of electronics and his startling originality. Despite his searching edginess, the CD is curiously relaxing. The high point is an extended piece called “Rod Poole’s Gradual Ascent to Heaven,” in which Cline builds a monument to a murdered fellow guitarist.

Louis Armstrong All Stars Live In Australia 1964 (Medici Arts). Armstrong, Trummy Young, Billy Kyle, Arvell Shaw, Danny Barcelona and Joe Darensbourg were wired. No one was phoning it in this day. The Australian television crew did a masterly job of capturing the complete concert. The closeups catch Armstrong’s exuberance playing and singing. The repertoire is typical of Armstrong at the time, “High Society,” “Blueberry Hill,” “Mack the Knife” – his hits. Jewel Brown overdoes a calypso novelty but redeems herself with a mostly unaffected “I Left My Heart in San Francisco.”

Mike Holober & The Gotham Jazz Orchestra, Quake (Sunnyside). Pianist-composer-arranger Holober chooses not to call his large congregation a big band. His scoring justifies the term orchestra. Balancing lushness with motion in and through the horn and rhythm sections, he evokes nature; the rustling of aspens in “Quake,” bird song in “Thrushes.” He is equally creative in his own pieces and in reinventions of songs by the Beatles and the Rolling Stones. Holober’s soloists, including himself, are among the best in New York.

Gene Perla, Bill”s Waltz (PM). Drummer Elvin Jones should get equal billing with Perla. The two laid down basic electric piano-and-drums tracks in 1986. Following Jones’ death in 2004, Perla wrote orchetrations for the pieces. With Jones digitally present, he recorded them in 2007 with the NDR Big Band in Germany and added his own bass track in 2008. Jones drives the band, and it reacts as if he were in the studio with them. The NDR has a great day. The NDR seem to always have a great day.

Various, Brooklyn Jazz Underground, Volume 3 (BJU). If you have heard that Brooklyn is a hotbed of young jazz artists but haven’t the foggiest idea what they are about, this compilation will give you a summary. Twenty-eight musicians in combinations from a duo to a sextet stretch your ears and the definition–if there is one–of jazz. The diversity of approaches includes a viola-bass clarinet duet that sounds like French impressionism and a fine “Body and Soul” by tenor saxophonist Jerome Sabbagh.

Rahsaan Roland Kirk Live in ’63 & ‘67 (Jazz Icons). One of eight DVDs in the impressive Jazz Icons third release, this finds Kirk touring Europe with his arsenal of horns. It is fascinating to watch him manage tenor sax, manzello, stritch, clarinet, siren and nose whistle. The forthright music he makes is even more gripping. Pianist George Gruntz, bassist Niels Henning Ørsted-Pederson and drummer Daniel Humair are among his accompanists in Belgium, Holland and Norway. Kirk’s fourteen performances include two versions of his explosve “Three For the Festival”

Ernestine Anderson, Hot Cargo (Fresh Sound).   

In these 1956 sessions, Anderson’s early singing has lost none of its naturalness, musicality or appeal. Her accompaniments by Harry Arnold’s big band and Duke Jordan’s trio sound equally fresh. I wrote earlier that this was one of the best vocal albums of the 1950s. I am revising that assessment. It is one of the best vocal recordings of the last half of the twentieth century. Sweden’s Metronome label originally released this perennially new collection as It’s Time For Ernestine. Mercury issued the LP in the US two years later and called it Hot Cargo, despite the disapproval of its producer, Börje Ekberg, and Anderson. Whatever the title, it is still time for Ernestine.

Wadada Leo Smith’s Golden Quartet, Tabligh, (Cuneiform).  stalwart of the avant garde for nearly four decades, Smith continues at the head of the pack in free jazz. In this set of four moody, barely-structured pieces, the trumpeter frequently evokes late-period Miles Davis. He sometimes takes the horn below its natural range to explore pedal-tone territory that Davis never visited. Pianist Vijay Iyer, bassist John Lindberg and drummer Shannon Jackson have developed an uncanny ability to react to Smith’s flights of unrestrained imagination. The sidemen also have impressive solo moments. Iyer’s virtuosic turns are notable. On the long title track, the four interact with astonishing energy and empathy.

Alexander String Quartet,

Retrospections (Foghorn Classics).

The ASQ plumbs the seriousness, assertiveness and sense of glee in quartets 1, 2 and 3 of the Pulitzer Prize-winning composer Wayne Peterson. Peterson draws on inspiration from sources as varied as samba, bluegrass, the bebop of Charlie Parker and Dizzy Gillespie, and predecessors including Bartok and Ives. He integrates those influences in spirit, not letter. Played by the Alexander String Quartet with deep understanding, Peterson’s pieces take the listener to unanticipated places. This music is not for background to household chores, dog-walking or doing your taxes. It rewards listening with your feet up, your head back, your eyes closed, a glass of something good nearby and your imagination ready to soar.

The Bobby Shew Story (Skyhigh Films). The great trumpeter talks about his career — stumbling into a jam session at age fifteen and discovering that he had the gift of improvisation –– deciding to give up studio work: “I realized I was on a chain like a pet monkey” — the joy of losing his fear of playing incorrectly: “I’m not afraid of sticking my neck out any more.” Interspersed with the interview segments are sequences of Shew performing at the Jazz Bakery with the Chris Walden big band. They include his scintillating exchanges with fellow trumpeter Kye Palmer on Clifford Brown’s “Joy Spring.” The DVD production is rudimentary, but the video quality and sound are excellent, and Shew’s insights are often profound.

Ted Gioia, Delta Blues (W.W. Norton). Those who think that their musical sophistication places basic blues beneath consideration are likely to benefit from Gioia’s exhaustive, deeply informative study. He concentrates on Mississippi Delta blues and its heroes including Robert Johnson, Son House, Mississippi John Hurt and B.B. King. Gioia traces the evolution of the blues from the plantation work songs that were also one of the roots of jazz. He is persuasive on the role of economics in driving the early bluesmen. He avoids the political and cultural posturing that has flawed some previous books on the subject. This is a welcome, helpful and rly written volume.